MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Chicago Film Critics Association Awards 2013

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cFor 20 years, since 1993, I’ve taken part in the voting, and sometimes the awards shows, for The Chicago Film Critics Association — and I’ll be there again for the 2013 Awards.

The show, in the 1990s and  the years before I emigrated to Chicago from Los Angeles, used to be elaborate and star-studded, Then it went into a kind of limbo for a while; Now, in the last two years,  there’s been a campaign by the CFCA to make their awards celebration it a gala affair once more. If you’re in Chicago or thereabouts, you’ll have a chance to see it. (A graphic with information  is below.) Our list of 2012 winners — which interestingly doesn’t mention  Oscar favorite Argo — is below too.

 

CHICAGO FILM CRITICS ASSOCIATION AWARDS FRO 1012

BEST PICTURE

 Zero Dark Thirty

BEST ACTOR

 Daniel Day-Lewis ( Lincoln) 

 

BEST ACTRESS

 Jessica Chastain (Zero Dark Thirty) 

 

BEST SUPPORTING ACTOR

Philip Seymour Hoffman (The Master) 

 

BEST SUPPORTING ACTRESS

 Amy Adams  (The Master) 

BEST FOREIGN LANGUAGE PICTURE

Amour  

BEST DIRECTOR

Kathryn Bigelow (Zero Dark Thirty)

BEST ADAPTED SCREENPLAY

 Lincoln (Tony Kushner)

BEST ORIGINAL SCREENPLAY

Zero Dark Thirty (Mark Boam)

BEST CINEMATOGRAPHY

The Master  (Mihai Malaimare, Jr. )

BEST EDITING

Zero Dark Thirty (William Goldenberg & Dylan Tichenor)

BEST ART DIRECTION/PRODUCTION DESIGN

Moorise Kingdom (Gerald Sullivan and Adam Stockhausen)

BEST ORIGINAL SCORE

The Master (Jonny Greenwood)

BEST NONFICTION FILM

The Invisible War

BEST ANIMATED FEATURE

ParaNorman

 MOST PROMISING NEWCOMER

Quvenzhane Wallis (Beasts of the Southern Wild

MOST PROMISING FILMMAKER

Benh Zeitlin (Beasts of the Southern Wild)

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Here’s the ad and info on this year’s CFCA Awards Show. I hope you can make it.

 

THIS IS YOUR CHANCE to join “Glee” star Jane Lynch and The Chicago Film Critics Association at the CFCA’s 2013 Awards show! Don’t miss your chance to be part of Chicago’s own red carpet with the stars this Saturday!
If you can’t see the image below, view this premiere event directly online.HollywoodChicago.com Hookup for 2013 CFCA Awards

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Wilmington

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé